Denise Azzopardi interviews maestro Michael Laus prior to his performance as both conductor and soloist in Concert Two of the Piano Concerto Series to be presented by the Malta Philharmonic Orchestra.

The upcoming concert features three popular pieces of music – Mozart’s Don Giovanni Overture, followed by his Piano Concerto Nr 20 in D Minor and ending with Schumann’s Symphony Nr 3 in E-Flat. What is the reason behind your choice of these three works and what are the factors that tie them together?

I think that Mozart’s music is particularly suitable for performance at the Manoel Theatre. Don Giovanni was composed and premiered less than two years after the composition of the D Minor Piano Concerto and there is much that binds these two master­pieces: the choice of the dark key of D Minor as the main key of both works and the foreboding atmosphere of the first and third movements of the concerto, which is reminiscent of the more sombre parts of Don Giovanni.

Likewise, Schumann’s Third Symphony has this vein of darkness and melancholy in certain moments. However, these moments alternate with some of the most passionately exuberant music that Schumann ever composed.

What is your connection with these pieces of music?

They are works by two composers that I love dearly: Mozart and Schumann. I have performed all three works several times and I look forward to performing them again as I always make new discoveries in these treasures. I have played and conducted the D Minor Concerto at the Manoel many years ago, along with K 467 and K 488, which I have also frequently performed. The K 466 still remains my favourite among the Mozart concertos.

How are you preparing for the execution and conducting of these works? How do you feel about conducting and performing as soloist simultaneously?

Pretty much as I normally prepare for any concert... by studying the scores and practising! There is nothing particular that I need to prepare to play and conduct simultaneously. The MPO musicians are wonderful in following conductor and soloists. They always rise to this challenge magnificently – it is an exalted form of chamber music since everyone needs to listen to the others more intently as there is no one to give the beat.

I find playing and conducting easier, in a way, than playing and being conducted by someone else

I find playing and conducting easier, in a way, than playing and being conducted by someone else, or than conducting another soloist. In this case, I do not need to make compromises about tempos or other aspects of interpretation as I often have to do when conducting the orchestra for a soloist.

Are there any challenging passages for the soloist in Mozart’s Piano Concerto Nr 20 in D Minor?

By modern standards Mozart is never tremendously difficult in a technical way, although this concerto and its twin brother, K467, contain the most complex piano writing that Mozart ever wrote. The great pianist Arthur Schnabel said, very aptly: “Mozart is too easy for children, but too difficult for professionals.” The challenge lies in producing the right quality of tone with the right articulation and balance on a modern concert grand piano, which is an instrument that Mozart would not have recognised.

Can you pinpoint the striking elements of the works selected?

I feel that the most striking moment of the Don Giovanni Overture is the opening, with those crashing chords. As Alfred

Brendel wrote, when Mozart writes in a minor key it has a profound impact on what he does, more so than other composers.

Each of the D Minor Concerto’s three movements has its own type of beauty. The first movement is the closest in character to Don Giovanni, the second movement is intensely lyrical and gentle, but contains an unexpected episode in G Minor in which all hell is let loose. The finale combines the passion of the first with the lyricism of the second and even adds a few subtle touches of humour.

The first theme of the Schumann symphony is one of the most impressive openings in all symphonic music. The third movement is also amazing and unique – it is a description of a solemn religious ceremony in the Cologne Cathedral with the sound of the trombones, which we hear for the first time in this movement. They add an archaic touch as they play contrapuntally in the style of Renaissance music. The symphony ends with a festive atmosphere, with a lively finale in which themes from the four previous movements are quoted and combined.

Concert Two of the Piano Concerto Series takes place on Friday at 8pm at the Manoel Theatre. Tickets are available by calling on 2124 6389, sending an e-mail to bookings@teatrumanoel.com.mt or online.

www.teatrumanoel.com.mt

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